L'homme qui comprend les femmes

The Man Who Understood Women was created by noted screenwriter Nunnally Johnson who had worked with Henry Fonda going back to Jesse James. On the basis of respect for his talent and his friendship with Johnson, Fonda got cast in the part of Hollywood wunderkind Willie Bauche, a man who it turned out did not understand women in the slightest or at least the woman whom he married and was responsible for her stardom, Leslie Caron.

Willie Bauche needed an actor with the flair of a John Barrymore to carry it off. In fact Fonda's character of Willie Bauche is a second cousin to Oscar Jaffe from Twentieth Century. Now Henry Fonda has been successful in comedy, but the fellow who utilized him best, Preston Sturges in The Lady Eve did not tamper with Fonda's basic All American serious character, he played Barbara Stanwyck and the rest of the cast off against it. What Barrymore or Orson Welles on whom the lead is allegedly based could have done we'll never know.

Speaking of Welles the character of Max Buda whom he played in The VIPs was exactly like what Fonda was trying to achieve in The Man Who Understood Women.

Fonda is a Welles like character who discovers young hopeful Leslie Caron, makes her a star and marries her. But he's all about himself and Caron's eyes start wandering and land on young army officer Cesare Danova while she and Fonda are on the French Riviera. Of course Fonda gets jealous and begins scheming all kinds of things that you have to watch The Man Who Understood Women to find out.

Leslie Caron was very hot at that point in her career having just come off the best film of 1958, Gigi. Still even I can't understand why she rated billing over Hollywood veteran Henry Fonda. I'm betting Fonda wasn't to thrilled with that either.

Besides working with Nunnally Johnson, Fonda got to work with Myron McCormick with whom he had gone to Princeton with and was part of the famous Triangle Players during their college days. McCormick plays his number two guy who tries to instill a little reality into Fonda's life, but is unable to.

The film actually begins quite promisingly. Nunnally Johnson who knew Hollywood as good as anyone has a great beginning with Fonda alerting producer Conrad Nagel to a new discovery in Caron, but doing it in such a way that Nagel thinks it's all his idea and that he's stealing someone from Fonda whom he can't stand, but who Fonda knows he can't stand. That was all very well done, if the film had kept up that quality it would be a classic today.

The Citadel film series book The Films Of Henry Fonda also says that there are a lot of inside Hollywood jokes, but said to say they stayed inside. One reason I looked forward to seeing it was that after some 50 years of tell all memoirs and second hand accounts, I figured that things a 1959 audience might not have gotten I would have. Well frankly I didn't so Nunnally's inside stuff stays inside.

After this one, Fonda stayed off the screen for three years coming back in a part in Advise And Consent that he was believable in. Far more than The Man Who Understood Women where he was probably the most miscast in his career.

But that's about it. It's the reason I came here, to see who wrote the script. The tone of the dialog sounded vaguely familiar. I wouldn't be surprised to learn that there were other unnamed doctors who tried to breathe life into this script. I also began to wonder if this was some cockamamie remake of A Star Is Born. It isn't, not that I think it would be better if that had been the case.

I'm also somewhat gratified to see that I'm not the only person who never saw the appeal of Leslie Caron. She's always just Leslie Caron; it doesn't matter what the role is.

My fellow reviewers are right. Don't bother with this. It's a European production/film trying to be American, and as a consequence, it's neither one nor the other. It's a disaster of a hybrid.

The best thing I can say about The Man Who Understood Women is it is not the worst comedy I ever saw: Machete, Jewel Robbery, Candy ( 1968), and Damsels In Distress ( all on my 10 worst films list) nor the worst movie I ever saw about Show Business (No Time For Comedy says hi). But It is the worst film of Henry Fonda's career and I despised the movie. The worst part? Fonda in clown makeup which is more cringe worthy ( and longer) then Octopussy with James Bond in clown makeup. On to Leslie Caron. I must admit I never got what other people saw in Leslie Caron: There are Frenchwomen so much more beautiful and better actresses ( Sophie Marceau, Catherine Deneuve, Denise Darcel and Julie Delpy to name a few), but here she is at her worst. Why? Her constant crying throughout this movie is sickening, which is why I had to fast forward through half the movie. Did I forget to mention, there is not one character ( especially Fonda and Caron) that you can like ( or even care about)? While it is not the worst movie I ever saw ( the ones I mentioned earlier plus Reality Bites and Walk On The Wild Side are worse, it it still makes my 10 worst films list and although I cannot rate it as no stars ( the minimum is 1), it still deserves 0 stars. 0/10 stars.

Nunnally Johnson, one of the great talents of the movie business in the 1930s and 1940s eased up for several years, and then came back to write and direct this immobile lump of a motion picture..... not helped in the least, by the way, by the fact that the color has faded on the print shown this evening on Turner Classics Movie, going all pink.

Into this mess, he injected some very talented performers, particularly Henry Fonda, but then seems apparently to have directed everyone in a monotone, from megalomaniac Henry Fonda, who plays Leslie Caron's starmaker husband, to Myron McCormick, who plays his platitude-spouting assistant, to Cesare Danova, who plays her seducer. Caron gets to weep and screech a bit, but that's about the limit of emotions on display. Everyone speaks in long speeches all the time.

A thorough-going stinker. Avoid this one.

Henry Fonda nearly quit the movies after getting a look at this thing, a backstage-Hollywood comedy-drama by Nunnally Johnson, loosely adapted from Romain Gary's novel "The Colors of the Day". Johnson also produced and directed the picture, and therefore deserves most of the blame for what's on the screen. Famous actor-director Fonda becomes smitten with struggling actress Leslie Caron after watching her do a screen-test and quickly turns her into a formidable star. It's at this point in the film where we see fake movie titles zig-zagging across the screen ("Between Heaven and Hell", "Mademoiselle X"), signifying success, and later get a preposterous scene of Fonda shouting down Caron's agents for their lack of direction (isn't he running the whole show?). Fonda compares his lovely discovery to Greta Garbo and Ingrid Bergman, but we just don't see it. Leslie Caron is attractive here, but sullen and with a deep, monotonous voice. When she supposedly wins an Academy Award, we don't see that triumph either (the statue is super-imposed over a starry background--along with MORE zig-zagging movie titles!). Johnson obviously knows the world of show-biz inside-out, but here he gives us the outer-workings of the movie-making world without any of the inner-workings. Caron and Fonda wed, but she quickly tires of his one-track mind--she wants to be a newlywed forever--and runs off with an Air Force Major while in France. Fonda wants the handsome home wrecker dead and orders a hit on him, but changes his mind when he thinks his wife might be killed too, and so chases after the Mutt and Jeff team he's in-cahoots with while dressed as a harlequin clown. It's too silly for words. *1/2 from ****